Frank Wedekind (1864-1918) is undoubtedly one of the most important german playwrights. As is well known, his innovative style of writing and the modernity of the topics of his dramas, made him an outrageous figure in Germany between XIX and XX century. Less known, indeed, is the struggle he suffered to impose himself as an actor; and his deep desire to do it. Not only Wedekind wrote for the theatre, he was also a performer; and used to reflect upon the role of the actor.
The aim of the article is to illustrate, the career of Wedekind as an actor (showing also the discrepancies of the critical judgements about his performances) focusing on his idea of dramatic art. To do so, the article begins with the reflections of Wedekind himself, particularly the ones expressed in Schauspielkunst from 1910.
Sonia Bellavia insegna Discipline dello Spettacolo presso L’università ‘La Sapienza’ di Roma. Ha scritto saggi e articoli sul teatro tedesco e italiano dei secoli XVIII, XIX e XX. È autrice delle monografie: Vienna e la Duse, 1892-1909 (Di Pagina 2018), La lezione di Friedrich Ludwig Schröder (Bonanno 2010), L’Ombra di Lear. Il ‘Re Lear’ di Shakespeare e il teatro italiano, 1858-1995 (Bulzoni, 2004). La Voce del Gesto. Le rappresentazioni shakespeariane di Ernesto Rossi sulla scena tedesca (Bulzoni, 2000).